Claude Monet | The Rouen Cathedral series, 1892-1894 | Tutt'Art@ | Pittura * Scultura * Poesia * Musica | maria laterza Art Styles and Categories: 19th century Art , En plein air painter , French Artist , Impressionist art movement , Landscape painter , Series paintings The Rouen Cathedral series was painted in the 1890s by French impressionist Claude Monet . The paintings in the series each capture the façade of the cathedral at different times of the day and year, and reflect changes in its appearance under different lighting conditions. Date The Rouen Cathedral paintings, more than thirty in all, were made in 1892-1893, then reworked in Monet’s studio in 1894. Monet rented spaces across the street from the cathedral, where he set up temporary studios for the purpose. In 1895, he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer’s gallery, and of these he sold eight before the exhibition was over. Pissarro and Cézanne visited the exhibition and praised the series highly.

Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject was well received. Apart from its religious significance, Rouen Cathedral-built in the Gothic style-represented all that was best in French history and culture, being a style of architecture that was admired and adopted by many European countries during the Middle Ages. Painting Light When Monet painted the Rouen Cathedral series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year, and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself. His Series Paintings, in which he painted many views of the same subject under different lighting conditions, are an attempt to illustrate the importance of light in our perception of a subject at a given time and place. Robert Pelfrey, in Art and Mass Media (Kendall/Hunt, 1996), says: By focusing on the same subject through a whole series of paintings, Monet was able to concentrate on recording visual sensations themselves.

The subjects did not change, but the visual sensations - due to changing conditions of light – changed constantly. The cathedral series was not Monet's first series of paintings of a single subject, but it was his most exhaustive. The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes. The cathedral allowed him to highlight the paradox between a seemingly permanent, solid structure and the ever-changing light which constantly plays with our perception of it. There were calls for the state to buy the entire series and exhibit them as a whole, but unfortunately these calls were not heeded and the series was divided. Technique Painting the cathedral was a challenging task, even for Monet. Michael Howard, in his Encyclopedia of Impressionism (Carlton, 1997), writes: As always, the pictures gave him intense difficulties, which threw him into despair. He had vivid nightmares of the cathedral in various colors – pink, blue and yellow – falling upon him… [Monet wrote:] 'Things don’t advance very steadily, primarily because each day I discover something I hadn’t seen the day before… In the end, I am trying to do the impossible'.

Monet found that the thing he had set out to paint–light–was, because of its ever-changing nature and its extreme subtlety, an almost impossible thing to capture. He was assisted, however, by his ability to capture the essence of a scene quickly, then finish it later using a sketch combined with his memory of the scene. For these paintings, he used thick layers of richly textured paint, expressive of the intricate nature of the subject. Paul Hayes Tucker, in Claude Monet: Life and Art (Yale University Press, 1995), writes: Monet’s sensitivity to the natural effects he observed are just one factor that make these pictures so remarkable; the way he manipulates his medium contributes to their majesty as well. For the surfaces of these canvases are literally encrusted with paint that Monet built up layer upon layer like the masonry of the façade itself. The subtle interweaving of colors, the keen perception of the artist and the use of texture all serve to create a series of shimmering images in light and color-masterpieces worthy of the grandeur of their subject matter.

| Wikipedia Rouen Cathedral /French: Cathédrale Notre-Dame de Rouen, is a Roman Catholic Gothic cathedral in Rouen, in northwestern France. It is the seat of the Archbishop of Rouen and Normandy. La cattedrale primaziale di Nostra Signora è la Cattedrale della Arcidiocesi omonima e il monumento più insigne della città di Rouen, nella regione della Normandia, in Francia. Si trova nella città vecchia, sulla riva destra della Senna, a poca distanza dalla piazza del Mercato Vecchio, dove Giovanna d'Arco fu arsa viva il 30 maggio 1431. Notre-Dame de Rouen è una delle più belle e vaste chiese gotiche della Francia e la sua Tour lanterne vanta il primato di avere la guglia (flèche) più alta del paese e la terza d'Europa. Con una altezza di 151 metri dal suolo le ha meritato di essere l'edificio più alto del mondo fra il 1876-1880.

Dal 1862 è riconosciuta come monumento storico di Francia. La Serie della Cattedrale di Rouen è formata da 30 dipinti di Claude Monet rappresentanti viste differenti della Cattedrale di Notre-Dame (Rouen), in particolare del suo Portale, realizzate tra il 1892-1894. Realizzazione Le prime due tele sono dipinte all'inizio di febbraio 1892 durante il primo soggiorno a Rouen di Monet, e rappresentano due viste della corte di Albano (a nord-ovest della cattedrale), dipinta en plein-air, e due viste del Portale da un appartamento situato al 31 di Place de la Cathédrale (edificio ancora esistente).

Al suo ritorno, a causa del lavoro al numero 31, Monet fu costretto a trasferirsi a dipingere in un altro edificio, La serie Daniel Wildenstein ha classificato la serie delle cattedrali, partendo dai diversi punti di vista da cui i dipinti sono stati realizzati. Nel suo catalogo ragionato delle opere di Monet, ciascuno è menzionato con l'iniziale W seguita da un numero. La Corte di Albano Le due prime tele sono dipinte prima del 12 febbraio 1892 en plein air. Rappresentano una parte della Torre Saint Romain. Queste due viste della cattedrale sono atipiche perché sono le uniche eseguite all'aperto, inoltre, il punto di vista è diverso da quello degli altri dipinti della serie, dal momento che guardano verso ovest, il che spiega in parte perché non si veda la facciata ovest.

Poiché il periodo invernale non era favorevole per dipingere all'aperto, Monet cercò un appartamento per continuare il suo lavoro. La Corte di Albano 92 cm × 73 cm, febbraio 1892, Smith College Museum of Art Northampton (Massachusetts), Stati Uniti d'America, W1317. La Corte di Albano, tempo grigio 92 cm × 65 cm, febbraio 1892, collezione privata, W1318. Il Portale visto di fronte Le successive due tele sono dipinte da una finestra dell'appartamento del sig. Louvet, posto di fronte alla cattedrale, si tratta quindi di viste frontali. Il portale visto di fronte, armonia bruna 107 cm × 73 cm, febbraio 1892, Musée d'Orsay, Paris, W1319.

Studio per Il portale visto di fronte 94 cm × 73 cm febbraio1892, collezione privata, W1320. Questo secondo dipinto non è stato completato, probabilmente perché Monet non era soddisfatto, è stato firmato ma non datato. L'ora del giorno non è determinata. Cambio d'appartamento Dopo il ritorno da Giverny, il 25 febbraio 1892, Monet si rimise al lavoro. È costretto a cambiare appartamento, a causa di lavori, e sceglie un altro punto di vista della Piazza del Duomo da un altro edificio sempre di proprietà di Louvet. | Wikipedia Claude Monet - Rouen Cathedral, the Portal (Full Sunlight), 1893 Rouen Cathedral (Series) Rouen Cathedral, the Portal (Full Sunlight), 1893. Oil on canvas, 107 × 73.5 cm. Musée d’Orsay, Paris The Rouen Cathedral series was painted in the 1890s by French impressionist Claude Monet.

The paintings in the series each capture the façade of the cathedral at different times of the day and year, and reflect changes in its appearance under different lighting conditions. ► Date The Rouen Cathedral paintings, more than thirty in all, were made in 1892 and 1893, then reworked in Monet’s studio in 1894. Monet rented spaces across the street from the cathedral, where he set up temporary studios for the purpose. In 1895, he selected what he considered to be the twenty best paintings from the series for display at his Paris dealer’s gallery, and of these he sold eight before the exhibition was over. Pissarro and Cézanne visited the exhibition and praised the series highly. Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject was well received. Apart from its religious significance, Rouen Cathedral–built in the Gothic style–represented all that was best in French history and culture, being a style of architecture that was admired and adopted by many European countries during the Middle Ages.

► Painting Light When Monet painted the Rouen Cathedral series, he had long since been impressed with the way light imparts to a subject a distinctly different character at different times of the day and the year, and as atmospheric conditions change. For Monet, the effects of light on a subject became as important as the subject itself. His Series Paintings, in which he painted many views of the same subject under different lighting conditions, are an attempt to illustrate the importance of light in our perception of a subject at a given time and place. Robert Pelfrey, in Art and Mass Media (Kendall/Hunt, 1996), says: By focusing on the same subject through a whole series of paintings, Monet was able to concentrate on recording visual sensations themselves. The subjects did not change, but the visual sensations – due to changing conditions of light – changed constantly. (166) The cathedral series was not Monet’s first series of paintings of a single subject, but it was his most exhaustive. The subject matter was a change, however, for prior to this series, Monet had painted mostly landscapes.

The cathedral allowed him to highlight the paradox between a seemingly permanent, solid structure and the ever-changing light which constantly plays with our perception of it. There were calls for the state to buy the entire series and exhibit them as a whole, but unfortunately these calls were not heeded and the series was divided. ► Technique Painting the cathedral was a challenging task, even for Monet. Michael Howard, in his Encyclopedia of Impressionism (Carlton, 1997), writes: As always, the pictures gave him intense difficulties, which threw him into despair. He had vivid nightmares of the cathedral in various colors – pink, blue and yellow – falling upon him… [Monet wrote:] ‘Things don’t advance very steadily, primarily because each day I discover something I hadn’t seen the day before… In the end, I am trying to do the impossible.’ (224). Monet found that the thing he had set out to paint–light–was, because of its ever-changing nature and its extreme subtlety, an almost impossible thing to capture. He was assisted, however, by his ability to capture the essence of a scene quickly, then finish it later using a sketch combined with his memory of the scene.

For these paintings, he used thick layers of richly textured paint, expressive of the intricate nature of the subject. Paul Hayes Tucker, in Claude Monet: Life and Art (Yale University Press, 1995), writes: Monet’s sensitivity to the natural effects he observed are just one factor that make these pictures so remarkable; the way he manipulates his medium contributes to their majesty as well. For the surfaces of these canvases are literally encrusted with paint that Monet built up layer upon layer like the masonry of the façade itself. (155) The subtle interweaving of colors, the keen perception of the artist and the use of texture all serve to create a series of shimmering images in light and color–masterpieces worthy of the grandeur of their subject matter. ► External links Claude Monet (1840–1926) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (19) Essay Claude Monet was a key figure in the Impressionist movement that transformed French painting in the second half of the nineteenth century.

Throughout his long career, Monet consistently depicted the landscape and leisure activities of Paris and its environs as well as the Normandy coast. He led the way to twentieth-century modernism by developing a unique style that strove to capture on canvas the very act of perceiving nature. Raised in Normandy, Monet was introduced to plein-air painting by Eugène Boudin ( 2003.20.2 ), known for paintings of the resorts that dotted the region’s Channel coast, and subsequently studied informally with the Dutch landscapist Johan Jongkind (1819–1891). When he was twenty-two, Monet joined the Paris studio of the academic history painter Charles Gleyre. His classmates included Auguste Renoir , Frédéric Bazille, and other future Impressionists. Monet enjoyed limited success in these early years, with a handful of landscapes, seascapes, and portraits accepted for exhibition at the annual Salons of the 1860s.

Yet many of the rejection of his more ambitious works, notably the large-scale Women in the Garden (1866; Musée d’Orsay, Paris ), inspired Monet to join with Edgar Degas , Édouard Manet , Camille Pissarro, Renoir, and others in establishing an independent exhibition in 1874. Impression: Sunrise (1873; Musée Marmottan Monet, Paris), one of Monet’s contributions to this exhibition, drew particular scorn for the unfinished appearance of its loose handling and indistinct forms. Yet the artists saw the criticism as a badge of honor, and subsequently called themselves “Impressionists” after the painting’s title, even though the name was first used derisively. Monet found subjects in his immediate surroundings, as he painted the people and places he knew best. His first wife, Camille ( 2002.62.1 ), and his second wife, Alice, frequently served as models. His landscapes chart journeys around the north of France ( 31.67.11 ) and to London, where he escaped the Franco-Prussian War of 1870–71.

Returning to France, Monet moved first to Argenteuil, just fifteen minutes from Paris by train, then west to Vétheuil, Poissy, and finally to the more rural Giverny in 1883. His homes and gardens became gathering places for friends, including Manet and Renoir , who often painted alongside their host ( 1976.201.14 ). Yet Monet’s paintings cast a surprisingly objective eye on these scenes, which include few signs of domestic relations. Following in the path of the Barbizon painters , who had set up their easels in the Fontainebleau Forest ( 64.210 ) earlier in the century, Monet adopted and extended their commitment to close observation and naturalistic representation. Whereas the Barbizon artists painted only preliminary sketches en plein air, Monet often worked directly on large-scale canvases out of doors, then reworked and completed them in his studio. His quest to capture nature more accurately also prompted him to reject European conventions governing composition, color, and perspective. Influenced by Japanese woodblock prints , Monet’s asymmetrical arrangements of forms emphasized their two-dimensional surfaces by eliminating linear perspective and abandoning three-dimensional modeling.

He brought a vibrant brightness to his works by using unmediated colors, adding a range of tones to his shadows, and preparing canvases with light-colored primers instead of the dark grounds used in traditional landscape paintings. Monet’s interest in recording perceptual processes reached its apogee in his series paintings (e.g., Haystacks [1891], Poplars [1892], Rouen Cathedral [1894]) that dominate his output in the 1890s. In each series, Monet painted the same site again and again, recording how its appearance changed with the time of day. Light and shadow seem as substantial as stone in his Rouen Cathedral ( 30.95.250 ) series. Monet reports that he rented a room across from the cathedral’s western facade in 1892 and 1893, where he kept multiple canvases in process and moved from one to the next as the light shifted. In 1894, he reworked the canvases to their finished states.

In the 1910s and ’20s, Monet focused almost exclusively on the picturesque water-lily pond ( 1983.532 ) that he created on his property at Giverny. His final series depicts the pond in a set of mural-sized canvases where abstract renderings of plant and water emerge from broad strokes of color and intricately built-up textures. Shortly after Monet died (a wealthy and well-respected man at the age of eighty-six), the French government installed his last water-lily series in specially constructed galleries at the Orangerie in Paris, where they remain today. Laura Auricchio Department of Art & Design Studies, Parsons The New School for Design October 2004 Citation Auricchio, Laura. “Claude Monet (1840–1926).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004) Further Reading House, John. Monet: Nature into Art. New Haven: Yale University Press, 1986. Tucker, Paul Hayes. Claude Monet: Life and Art.

New Haven: Yale University Press, 1995. Additional Essays by Laura Auricchio Rouen Cathedral (Monet) - YouTube Rouen Cathedral (Monet) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 13, 2014 The Rouen Cathedral series was painted in the 1890s by French impressionist Claude Monet. The paintings in the series each capture the façade of the cathedral at different times of the day and year, and reflect changes in its appearance under different lighting conditions. This video is targeted to blind users. Attribution: Article text available under CC-BY-SA Creative Commons image source in video Category The Places of Claude Monet top Bordighera Bordighera is a small town on the Mediterranean coast of Italy, just over the border from France.

Monet and Renoir traveled there in 1883 to paint the lush foliage and brilliant light, and Monet returned alone in 1884. In letters to Alice Hoschedé, Monet expressed his delight at the natural colors of the sea and sky, shades of blue he feared he could not approximate. He confessed that the palm trees caused him problems, but his stay was productive, and the setting heated the color of his palette. Monet stayed about 10 weeks in Bordighera and painted about 35 works plus painted another 11 works on the French Riviera on the way home before returning in April 1884. Dieppe and Pourville Dieppe was the first town to be developed as a resort when it was favored by the English as an alternative to Brighton. But since it is windy it began to fall out of favor by about 1830. Nevertheless, Pissaro, Renoir and Monet all painted here, though Monet preferred the rugged cliffs and quieter atmosphere at nearby Pourville, where he took a house, and Varangéville sur Mer. Not far from Rouen, Dieppe has much to boast about. It attracted J. M. W.

Turner, Eugene Delacroix, Edgar Degas, Claude Monet, Camille Pissarro, Auguste Renoir, Paul Gauguin, Aubrey Beardsley, James McNeill Whistler, Max Beerbohm, Felix Vallotton, William and Ben Nicholson, Walter Richard Sickert, Matthew Smith and Georges Braque has to have been doing something right. It is also a tribute to the discreet fascination of Dieppe that among the writers who enjoyed it are Chateaubriand, Flaubert, Turgenev, Dumas fils, Oscar Wilde, Marcel Proust and Virginia Woolf. In 1824, the English essayist William Hazlitt went to Dieppe as a pioneer of travel journalism. Dieppe remains a highly attractive town, and is worth a visit today for its excellent seafood restaurants, and for the Château Museum on a headland above the beach. top Étretat Étretat was a small, busy fishing port. During the 1880s, Monet rediscovered the Normandy coast and made repeated visits there to draw by the sea. He was attracted to its dramatic cliffs and rock arches.

He lived there in 1868 with Camille Doncieux (whom he married in 1870) and their son Jean. Monet returned to Étretat in 1883, 1885 and 1886. Étretat had already been painted by both Delacroix and Courbet; Monet in fact owned a Delacroix watercolor of the area. The Courbet retrospective at the Ecole des Beaux-Arts in 1882 featured a group of Étretat seascapes. Monet visited Étretat in 1883 with plans to create his own Normandy seascapes: "I reckon on doing a big canvas on the cliff of Étretat, although it’s terribly audacious of me to do that after Courbet who did it so well, but I’ll try to do it differently." The region had become a fashionable holiday destination for Parisians, which may have encouraged Monet to create paintings for a growing market. The natural drama of the landscape provided an excellent setting - for both painters and property speculators.

The town rises steeply up behind the beach so that the grand villas - taken by Maupassant, Offenbach and Zola, among others - have spectacular views over the bay and the rock arches, which form a natural frame at either end. In summer the setting sun adds to the drama. The beach, though pebbly, also added a certain frisson to a stay here in the late 19th century. top Fécamp Fécamp is located along a stretch of Normandy called the Alabaster Coast. It is famous for its Imposing 110-metre-high chalk cliffs, similar to the white cliffs of Dover in England. Once a thriving fishing port, it is now a big industrial port, but the seafront is still attractive and the beach, which gives way to a long line of cliffs curving into the distance was the scene of several paintings by Monet. Fecamp also has an extraordinarily beautiful 11th-century abbey church whose architecture proved an inspiration in the designs of English cathedrals. Bishop Losinga, who commissioned Norwich cathedral, had been prior at Fécamp.

top Fresselines In February 1889, the writer and critic Gustave Geffroy took Monet to stay with the poet Maurice Rollinat at Fresselines in the valley of the Creuse in the Massif Central. In March 1889, Monet returned and spent almost three months staying in the local inn. He worked all day out of doors, spending the evenings with Rollinat, with whom he became the best of friends. Fresselines is a small town near the meeting point of the Grande Creuse and Petite Creuse rivers, a sparsely populated region that had long attracted artists, authors and poets. Monet painted this dramatic landscape in the early spring of 1889 undertaking one of his most arduous painting campaigns. The area is rugged and rocky, with deep valleys and steep hillsides; the climate is harsh, windy, rainy, and cold. Monet completed twenty-four canvases at Fresselines, each one a struggle against the elements and against his own growing sense of physical vulnerability. The Creuse campaign was a turning point for Monet.

Realizing that he had to find a place to pursue his aims more efficiently, the artist turned his attention homeward, to the environment of Giverny. top Giverny ( click here for more information about and his graden at Giverny) Giverny is a small village on the banks of the Seine River. Monet began renting a house the in 1883 and bought it in 1890, living with his second wife Alice Hoschedé (whom he married in 1892) and their combined eight children. The local scenery, such as wheatstacks in the neighbors fields, inspired Monet's famous series paintings. Monet designed and planted an extensive garden area which became the primary subject of his painting by the late 1890s. Monet's garden was probably one key to his success, a starting point for his fame. We know know that he was an absolutely professional gardener in his time and well admired for his skills. He wrote written daily instructions to his gardening staff, precise designs and layouts for plantings, invoices for his floral purchases and his collection of botany books.

Monet often said, "Besides gardening and painting, I don’t know a thing". top Honfleur Monet painted Rue de la Bavolle, Honfleur (right) in 1864. This coastal town was a popular destination for marine painters. Monet traveled there with French artist Frederic Bazille in May 1864, and they set up their easels together along the coast, on the sea cliffs, and in the adjacent countryside. Monet remained in Honfleur after Bazille returned to Paris. In the fall, Monet painted two versions of the volatile play of light and shadow on the village street in the lowering autumnal sun. Honfleur (known as France's "northern Riviera" ) is famous for the breeding and racing of thoroughbred horses, and the 8,000 residents include French celebrities who have second homes here.Honfleur is not a resort but a fortified medieval port, and one of the prettiest and most appealing towns in Normandy. The set piece is the Vieux Basin, the old harbour that used to be enclosed within the defensive walls. Now it is a picturesque place to moor a yacht.

Honfleur also has a highly unusual church, built in the 15th century after the English occupiers were kicked out. The local craftsmen were shipwrights and had no stone, so they built the roof of timber in the shape of two upturned ships' hulls. From an artistic point of view Honfleur is important because it was the home town of Eugène Boudin and the local museum has a collection of his works, as well as paintings by Courbet, Monet, Dufy and Mozin. top Le Havre Monet grew up in this major port city of France in the Normandy where his father prospered as a grocer and ship chandler. This event has more than biographical significance, for it was Monet's childhood, spent along the beaches, and the intimate knowledge he gained of the sea and the rapidly shifting Norman weather, that would one day give rise to his fresh vision of nature. The sea thus became the constant background of his whole childhood, and he spent more time roaming the beaches than in the schoolroom.

He wrote of himself: He met landscape artist Boudin and the Dutch painter Jongkind here an was inspired by them to paint landscapes out-of-doors, giving up his interest in caricature. Le Havre was almost completely razed by Allied bombardment during the Normandy landings and it can be hard to recapture the sense of the old port evoked by the Impressionists. Along the St Andresse beach, there are still plenty of recognisable views - the headland, in particular, was painted several times by Monet, whose aunt lived in a villa on the seafront, and later by Dufy. Standing by the plaque indicating where Monet sat to paint the canvas that gave the movement its name - Impression, Sun Rising - one looks over a car park towards a container port with an oil refinery in the background. Turning 180 degrees one facesFrance's best museum of Impressionist paintings after the Musée d'Orsay. All the big names of the movement are well-represented, especially Boudin and Pissarro, and there is also a strong collection of paintings by Dufy, who was born in Le Havre.

top London Monet first visited London when he met his wife Camille fled France in 1870-1871 during the France-Prussian War. He returned many years later (1899, 1900 and 1901) to paint bridges and House of Parliament seen through the fog of the Thames River. top Paris Monet was born in Paris, the capital of France, on Nov., 1840. After his childhood in Le Havre, he returned to Paris in 1859 to study painting. He primarily lived in the city, after a brief stint in the military in Algeria, and he alternated between the city and the suburbs until the early 1880s. During this time, he kept a studio in Paris for periodic work on cityscapes such as the Saint-Lazare Station and also to store paintings for exhibitions. In Paris, Monet met other important artists of his time, including Renoir, Bazille, Sisley, Pissaro and Courbet. In 1865, 1866 and 1880 his work was officially recognized when exhibited at the Paris Salon.

Monet was one of the founders of the group of independent artists called the Impressionists, who exhibited together in Paris eight times between 1874 and 1886. Although permanently settled outside the city after 1883, paris always remained essential to Monet for the sales of his work. top Rouen Rouen, a walled city until the 18th century, was named the "the city of 100 spires," by author Victor Hugo. It's perched elegantly along the Seine, France's longest river. Rouen's (pronounced Roo-aw) narrow, winding cobblestone streets are delightfully walkable. In this city, Normandy's signature medieval half-timbered houses stand in the shadow of its soaring and bewitching centrepiece -- Notre Dame Cathedra, with its Tour de Beurre (heavily damaged in the war, but now fully restored). The 9-year-old heroine Joan of Arc was burned at the stake in the village marketplace for heresy in 1431. Twenty-four years after her death, Joan was pardoned -- and then canonized in the early 1900s.

The cathedral was the subject of a series of paintings by Claude Monet, some of which are exhibited in the Musée d'Orsay in Paris. Monet created several groups of paintings exploring the color, light, and form of a single subject at various times of day, but his Rouen Cathedral series was his most intense effort on a single site. He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. He began this example in 1893, working in an improvised studio in the front room of a dressmaker's shop across from the cathedral. After creating a coherent ensemble, Monet selected twenty paintings that he considered "complete" and "perfect," including this one, for an exhibition at his Paris dealer's gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group. top Sandvika Monet visited his stepson Jacques Hoschedé in Norway in the winter of 1895.

Wrapped in bearskins, Monet and Jacques explored the mountains by rail, skis and horse-drawn sleigh. top Sainte-Adresse Monet's aunt Marie-Jeanne Lecadre owned a summer house in this fishing village. In his early career, Monet frequently painted the beach and the view from her house. He painted perhaps one of the key works of Impressionism, Garden at Sainte-Adresse, when he was 26. This was a time when he and his friends in Paris were trying to find new ways to see and depict modern life. Sainte-Adresse is a small town located between the big port city of Le Havre and the edge of the pays de Caux. As it was the case for several other (then) small cities of the Norman coast (Étretat, Trouville, Houlgate, Cabourg), Sainte-Adresse became one of the preferred vacation places of the intelligentsia. The rich merchants and ship owners from Le Havre also built or bought vacation houses in Sainte-Adresse. A promenade was built as the continuation of the promenade of Le Havre until Land's End (le Bout du Monde).

Sainte-Adresse was renowned for the regattas organized by the Sociéte des Régates du Havre, which still owns a big club-house on the promenade. The promenade and its landing stage (estacade) were immortalized by the painters Claude Monet, Raoul Dufy and Albert Marquet. The garden in the painting belonged to Monet’s aunt, whose seaside villa was near the great port of Le Havre. One can imagine that the seated figures - probably Monet’s father and aunt - are watching the steam ships bringing goods to their home town. Monet is painting not only modern commerce, but the familiar pleasures of modern middle-class life. top Trouville Trouville is about as near as you get to an old-fashioned British seaside resort on this stretch of the coast by the long promenade. But it is still a smart address. The grand hotels have been converted to posh apartments, including the Hôtel des Roches Noires Trouville (right), brilliantly depicted by Monet in 1870 with its flags stretched taut by the sea breeze. Monet stayed in a more modest establishment and left for England in a panic without paying his bill when the Franco-Prussian war broke out.

Many of Boudin's scenes of the beautiful people gathering on the sands were painted here, while Courbet typically ignored high society and focused on the empty beach or the fishing boats. top Venice Monet traveled with his second wife Alice to Venice, italy, in the Autumn of 1908. He completed about 36 views of Venice's legendary canals, piazzas and palaces. "One cannot come to Venice," Monet said, "without wanting to return." He painted feverishly every day from early morning until late afternoon. In his views of such celebrated subjects as the Grand Canal, he continued to explore colored reflections on water, emphasizing Venice's magical, moisture-laden atmosphere in which buildings lose their detail. Most of these paintings were only begun when Monet left Venice. He finished them three years later in his studio at Giverny and exhibited them in Paris to great acclaim. top Vétheuil Vétheuil is a small town of 600 inhabitants on the Seine 40 miles downriver from Paris. Its relative isolation - the nearest railway station was eight miles distant - gave Monet an opportunity to advance his art away from the increasing congestion of Argenteuil.

His years in Vétheuil were to prove difficult but productive. During this period, which is considered to have been a turning point in the artist’s life, Monet suffered the death of his wife, financial difficulties, and unfavorable critical reception. The bleakness of Monet’s life seemed to be reflected in one of the harshest winters on record. The thermometer fell so low that the Seine froze over. Once the thaw set in, huge blocks of ice began to force their way down the river, crashing into each other with such force that the family was woken from its sleep. Monet worked throughout the winter to capture this beautiful and eerie spectacle in a group of about a dozen stark and semi-abstract canvases such as The Break-up of Ice, some of which appear to prefigure his later waterlily paintings. The Cathedral at Rouen: The inspiration for Monet’s famous series – France Travel Guide in Featured Articles / Travel Guide tagged Featured Articles / Travel Guide Rouen is a town in Normandy known mostly as the place where Joan of Arc was burned at the stake, and as the home of the Gothic cathedral made famous by Monet’s series of paintings.

Monet’s series is so comprehensive, as you stand in the square and gaze at its façade you’ll feel as though you have seen the cathedral before. A walk inside the cathedral, however, gives way to a whole new vantage point, complete with unimaginably high vaulted ceilings. Visiting the cathedral has inspired countless travelers to learn more about Monet’s series of paintings – but you can get a head start and know before you go! Monet’s series Whether you are an art buff or a casual art appreciator, most people who know anything about the French Impressionists have learned about or seen Monet’s famous series of paintings of the cathedral at Rouen. Called by some as the “climax of Impressionism”, the series aimed at showing the influence of the atmosphere and light on subjects. Monet wanted to capture the way something looks at one instant during the day, and the way natural light can affect how something is seen as well as interpreted. During the 1890s, Monet worked on several series of paintings representing the same subject at different times of day. The most famous of these series focused on the cathedral at Rouen, whose Gothic architecture made for a dynamic subject.

Although the 31 paintings of the cathedral are dated 1894, the majority of the paintings were “done” over two lengths of time in 1892 and 1893, when Monet rented two different rooms facing the cathedral. The paintings were later finished in his studio in Giverny . DOWNLOAD OUR TRAVEL GUIDES DOWNLOAD NOW The cathedral at Rouen is large and impressive, though Monet’s efforts were not aimed at showing off the architectural magnitude of the Gothic cathedral. In fact, Monet wanted to demonstrate the power of a painting in representing the dynamic quality of light and atmosphere, thus giving life to something that had remained relatively unchanged for centuries. Monet would sometimes be working on as many as ten canvases at a time, waiting for a fleeting cloud, early morning fog or bright sun ray to change the atmospheric conditions of the cathedral. The series of cathedral paintings was a huge success, changing traditional ideas about paintings. It also changed Impressionism; Monet’s avant-garde take on reflecting a moment in time changed the genre forever.

Writer Georges Clemenceau said of Monet’s paintings, “In front of the twenty views of the building by Monet, one notices that the art, in its persistence of expressing the nature with increasing exactitude, teaches us to watch, to perceive, to feel. The stone itself is transformed into an organic substance, and one can feel how it changes in the same way that a little moment of the life is followed by another one.” Monet’s famous cathedral series is still so popular that in May 2000, Sotheby’s auctioned one of the canvases for more than $24 million. If you don’t have $24 million, though, you can check out the cathedral yourself and get some inspiration before looking at Monet’s impressive series. Many of the Rouen Cathedral series can also be found at Paris’ Musee d’Orsay , and there is also an extensive collection of works about the series – the perfect way to bring Rouen and its famous cathedral to you! The Portal of Rouen Cathedral in Morning Light (Getty Museum) The Portal of Rouen Cathedral in Morning Light Download This image is available for download, without charge, under the Getty's Open Content Program .

The Portal of Rouen Cathedral in Morning Light Claude Monet (French, 1840 - 1926) 100.3 × 65.1 cm (39 1/2 × 25 5/8 in.) 2001.33 Open Content images tend to be large in file-size. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading.

Currently on view at: Getty Center, Museum West Pavilion, Gallery W204 Object Details The Portal of Rouen Cathedral in Morning Light Artist/Maker: Claude Monet (French, 1840 - 1926) Culture: 100.3 × 65.1 cm (39 1/2 × 25 5/8 in.) Signed: Signed and dated, lower left: "Claude Monet 94" Alternate Titles: Le Portail (Effet du Matin) (Alternate Title) Department: See more See less "Everything changes, even stone." Claude Monet wrote these words in a letter and vividly demonstrated them in paint, conveying a wondrous combination of permanence and mutability as the sun daily transformed the facade of Rouen Cathedral. Extending the building's encrusted stone surface to the richly varied impasto surface of his painting, he portrayed the cathedral perpetually re-emerging in the suffused light of early morning. Monet created several groups of paintings exploring the color, light, and form of a single subject at various times of day, but his Rouen Cathedral series was his most intense effort on a single site.

He painted there in late winter in both 1892 and 1893, then reworked his thirty canvases from memory in the studio through 1894. He began this example in 1893, working in an improvised studio in the front room of a dressmaker's shop across from the cathedral. After creating a coherent ensemble, Monet selected twenty paintings that he considered "complete" and "perfect," including this one, for an exhibition at his Paris dealer's gallery in May 1895. Pissarro and Cézanne visited and praised the series, and patrons quickly purchased eight paintings from the group. Durand-Ruel & Cie (Paris, France), purchased from the artist, 1895; sold to Louis Gonse, 1895. Source: JPGM, Paintings Department, curatorial files, letter from Paul-Louis Durand-Ruel, June 25, 2001. 1895 - Louis Gonse, 1846 - 1921 (Paris, France), probably by inheritance to his son, Emmanuel Gonse.

- Emmanuel Gonse, 1880 - 1954, probably by inheritance to his wife, Suzanne Gonse. - 1962 Suzanne (Boas) Gonse (Paris, France), sold to Durand-Ruel & Cie (Paris, France), 1962. 1962 Durand-Ruel & Cie, sold to Sam Salz, 1962. Source: JPGM, Paintings Department, curatorial files, letter from Paul-Louis Durand-Ruel, June 25, 2001. 1962 - Sam Salz, about 1894 - 1981 (New York, New York) about 1968 Edwin C. Vogel (New York, New York) about 1971 Sam Salz, about 1894 - 1981 (New York, New York) about 1972 Exposition de tableaux de Claude Monet (May 10 to May 31, 1895) (Cat.

13) Durand-Ruel & Cie (Paris), May 10 to May 31, 1895 Exposition Claude Monet, 1840-1926 (May 22 to September 30, 1959) (Cat. 50) Durand-Ruel & Cie (Paris), May 22 to September 30, 1959 Monet: A Retrospective (February 11 to July 31, 1994) (Cat. 57) Bridgestone Museum of Art (Tokyo), February 11 to April 7, 1994 Nagoya City Art Museum (Nagoya), April 16 to June 12, 1994 Hiroshima Museum of Art (Hiroshima), June 18 to July 31, 1994 The Repeating Image: Multiples in French Painting from David to Matisse (October 7, 2007 to April 13, 2008) (Cat.

62) Walters Art Museum (Baltimore), October 7, 2007 to January 1, 2008 Phoenix Art Museum (Phoenix), January 20 to April 13, 2008 A City for Impressionism: Monet, Pissarro and Gauguin in Rouen (June 4 to September 26, 2010) (Cat. 63) Musée des beaux-arts (Rouen), June 4 to September 26, 2010 Bibliography Exposition de tableaux de Claude Monet, exh. cat. (Paris: Galeries Durand-Ruel, 1895), p. 3, no. 13. Venturi, Lionello. Les archives de l'impressionnisme. 2 vols. (Paris and New York: Durand-Ruel, 1939), vol. 1, p. 359, letter 227. Exposition Claude Monet, 1840-1926, exh. cat. (Paris: Galerie Durand-Ruel, 1959), unpaginated, no.

50, ill. Wildenstein, Daniel. Claude Monet: Biographie et catalogue raisonné. 5 vols. (Lausanne and Paris: La bibliothèque des arts; Wildenstein Institute, 1974-91), vol. 3 (1979), pp. 166-67, no. 1354, ill. Seiberling, Grace. Monet's Series (New York and London: Garland, 1981), pp. 367, 369, app., nos. 13, 27. Pissarro, Joachim. Monet's Cathedral: Rouen, 1892-1894 (London: Pavilion, 1990), pp. 64-65, 95, pl. 15. Gonse, François. "Louis Gonse (1846-1921): Historien, critique, et amateur d'art." Mémoire de maîtrise (Université de Paris IV-Sorbonne, 1990), pp. 105-6, 119n61.

Grandjean, Gilles, ed. Rouen, les 'Cathédrales' de Monet, exh. cat. (Rouen: Musée des beaux-arts, 1994), p. 97, ill. Monet: A Retrospective, exh. cat. (Tokyo: Bridgestone Museum of Art, 1994), pp. 176, 178, no. 57, ill. Wildenstein, Daniel. Monet, or the Triumph of Impressionism. 4 vols. (Paris: Wildenstein Institute, with Taschen, 1996), vol. 1, p. 293; vol. 3, pp. 555, 562, no. 1354, ill. Allen, Denise, et al. Masterpieces of Painting in the J. Paul Getty Museum. Rev. ed. (Los Angeles: J. Paul Getty Museum, with Thames & Hudson, 2003), pp. 104-5, no. 56, ill., entry by Charlotte Eyerman. Bieber, Susanneh.

Variations on a Theme: American Prints from Pop Art to Minimalism, exh. cat. (Fresno: Fresno Metropolitan Museum, 2004), p. 12, fig. 3. Stuckey, Charles. "The Predications and Implications of Monet's Series." In The Repeating Image: Multiples in French Painting from David to Matisse, exh. cat. Eik Kahng, ed. (Baltimore: Walters Art Museum, with Yale University Press, 2007), pp. 120, 121, fig. 53. Kahng, Eik, ed. The Repeating Image: Multiples in French Painting from David to Matisse, exh. cat. (Baltimore: Walters Art Museum, with Yale University Press, 2007), pp. 121, 196, no. 62, fig. 53. The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007). pp. 144-45, ill. Salomé, Laurent, ed.

A City for Impressionism: Monet, Pissarro, and Gauguin in Rouen, exh. cat. (Rouen: Musée des beaux-arts, with Skira Flammarion, 2010), pp. 273, 278, no. 63, ill., entry by Jeanne-Marie David. Acquavella: The First Ninety Years (New York: Acquavella Galleries, 2012), p. 371, ill. Pissarro, Joachim. "Monet / Pissarro in the 1890s: Serial Racing." In Pissarro, exh. cat. Guillermo Solana, et al. (Madrid: Museo Thyssen-Bornemisza, 2013), p. 47, fig. 18. Scoates, Christopher. Brian Eno: Visual Music (San Francisco: Chronicle Books, 2013), p. 119, ill.

Question: Which French artist painted several views of Rouen Cathedral in the 1890s?
Answer: CLAUDE MONET